Description
Arthur Fillon (1900 Loris - 1974 Paris) "Port d'Honfleur" (Port of Honfleur). Original title View of the picturesque Norman harbor town of Honfleur, painted in a pastel, cheerful coloring, with fishing boats and excursion boats moored at the quay wall. A characteristic impression from Fillon's early work, painted around 1929, in which the influence of Cézanne and the Fauves can still be clearly felt in the two-dimensional composition. Trained at the École des Beaux-Arts in Marseille, the artist went to Paris in 1918, where he studied in Ernest Laurent's studio. From 1924, Fillon regularly took part in the Salon d'Automne and Salon des Indépendants. Initially, he preferred themes related to the circus world, but over the years he increasingly turned his attention to bustling urban life in Paris, summer landscapes and still lifes. His painting style also underwent a marked change towards an impressionistic approach. His brushstrokes became more and more relaxed and his palette became lighter and more radiant. Oil on canvas; signed lower left; verso paper label of the Matisse exhibition 1931 at the Museum of Modern Art New York, two gallery labels of the Kunsthaus Bühler, Stuttgart, a handwritten inscribed exhibition label dated 1929 and two Parisian customs stamps. 60 cm x 72.5 cm. Frame. Oil on canvas. Signed. Different gallery and exhibition labels on the reverse.
1869
Arthur Fillon (1900 Loris - 1974 Paris) "Port d'Honfleur" (Port of Honfleur). Original title View of the picturesque Norman harbor town of Honfleur, painted in a pastel, cheerful coloring, with fishing boats and excursion boats moored at the quay wall. A characteristic impression from Fillon's early work, painted around 1929, in which the influence of Cézanne and the Fauves can still be clearly felt in the two-dimensional composition. Trained at the École des Beaux-Arts in Marseille, the artist went to Paris in 1918, where he studied in Ernest Laurent's studio. From 1924, Fillon regularly took part in the Salon d'Automne and Salon des Indépendants. Initially, he preferred themes related to the circus world, but over the years he increasingly turned his attention to bustling urban life in Paris, summer landscapes and still lifes. His painting style also underwent a marked change towards an impressionistic approach. His brushstrokes became more and more relaxed and his palette became lighter and more radiant. Oil on canvas; signed lower left; verso paper label of the Matisse exhibition 1931 at the Museum of Modern Art New York, two gallery labels of the Kunsthaus Bühler, Stuttgart, a handwritten inscribed exhibition label dated 1929 and two Parisian customs stamps. 60 cm x 72.5 cm. Frame. Oil on canvas. Signed. Different gallery and exhibition labels on the reverse.
